It’s complicated: Sally Hales reviews the world premiere of a chamber musical based on Kids Company.

“It’s hack-work, pure and simple”: Stewart Pringle on Julian Fellowes’ insipid musical version of Kenneth Grahame’s classic.

We too are thieves: Brendan Macdonald reviews Audra McDonald as Billie Holiday.

Heartache: Rafaella Marcus reviews Kneehigh Theatre at the Globe.

The here and now: William Drew reviews the transfer of Robert Icke’s Hamlet to the Harold Pinter Theatre.

The light changes. Just a little: Rosemary Waugh reviews the world premiere of Alice Birch’s Anatomy of a Suicide.

The mythology of touring: David Ralf reviews Charlie Fink and Jade Anouka performing a work combining Fink’s new album with a monologue by David Greig.

Throw a finger up to the single-phrase casting breakdown: Amelia Forsbrook reviews Inua Ellams’ “electrifying” new work at the National Theatre.

A classic case of biting off more than one can chew: Fergus Morgan responds to the Time Out audience reviews of DC Moore’s Common.

The absence of love: Lee Anderson reviews Gary Owen’s new play at the Royal Court.

A vivid and colourful soundscape: Brendan Macdonald reviews the latest production from Silent Opera.

Creating a memory palace: Amelia Forsbrook reviews Robert Lepage’s play about the act of remembering.

A gothic vaudevillian circus: Francesca Peschier reviews Sally Cookson’s version of Fellini’s masterpiece.

So much heavy breathing: Ka Bradley reviews Darren Johnston’s new work at the Barbican.

Wall to wall pressure: Rosemary Waugh reviews Jack Thorne’s new version of Woyzeck.